How to Get the Most Out of Photography Competitions

Transcription

lensculture
Photo Credits on Back Cover
How to Get the Most Out of
Photography Competitions
PLUS: Insiders’ Tips and Advice from Industry Professionals
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© Marius Schultz
LensCulture Portrait Awards 2014
© Jody Ake
Lens Culture Exposure Awards 2011
© Dayna Bartoli, LensCulture Emerging
Photographers Award 2013
© Tsutomu Yamagata
I. Introduction
II. How to Evaluate Photo Competitions
III. Tips & Advice from Industry Professionals
IV. Notable Competitions to Consider
V. LensCulture Success Stories
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© Nina Roeder
© Peter DiCampo
LensCulture Exposure Awards 2009
© Camille Seaman
Lens Culture Exposure Awards 2012
© Carlotta Cardana
LensCulture Emerging Photographers Award 2013
© Anne Berry
Introduction
Submitting work to juried photography competitions is the first step artists take towards
building a global audience for their work. But how do you choose among the wide range of
competitions available to photographers today?
This Guide has been created to introduce you to the process of entering competitions and
help you make the most of your efforts.
While there is no formula for determining precisely which competitions are right for you and
your work, there are several factors that can help you decide: Judges, theme, prizes and
exposure are the key areas to consider. It will then be up to you to tackle the task of editing
your images to fit the competition guidelines.
We have sought the advice of many noted Judges who will share their experience and insight with you, guiding you towards your best possible submission. And we have compiled
a substantial list of competitions for you to consider entering. We hope the tips, advice and
information in this Guide will help you understand ways to increase your chances of success.
With good photography and a smart strategy, we wish you the best!
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“Entering juried
competitions is often
the best way to get
your work seen.”
– Mary Virginia Swanson
How to Evaluate Photo Competitions
Photo competitions are an excellent way to get your work in front of the people who
matter—influential jury members who can have a career-building impact on any photographer. That said, there are a lot of photo competitions to consider, and the quality and results
vary widely. We asked hundreds of photographers who entered our competitions, as well as
photography experts, to define the most important factors for effective competitions. Here is
a checklist of things to consider when entering a competition:
1
Hosting Organization
2
The Jury
Look for organizations that are well-known and well-respected in the international photography world. Influential organizations can provide winning photographers with meaningful
exposure that can lead to career-building opportunities. Other activities, publications, websites and events associated with a hosting organization can also be a good indicator of what
they can offer. Look for organizations that are dedicated to photography and have a history
of recognizing talented photographers.
An influential jury panel with decision making power in the photography community can be
one of the greatest assets offered to you when entering a photo competition. Think about
whether or not the people on the jury can help your work be featured, published, shown or
acquired. Connections to publications, galleries, festivals and an influential network in the
photography world are important with both international and regional jurors. A well-connected advocate of your work can be invaluable in helping you further your career.
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3
Exposure Opportunities: Exhibitions
Exhibitions are great for your CV and can help to legitimize you in the photography
community. That said, there is a wide range of exhibition prestige, so it’s worth looking into
where a show will be, if it’s offered, and who will be in attendance. Invitations to press and
private previews are a great perk, so think about the hosting organization’s connections
and try to find documentation of previous exhibitions they have hosted.
The World Press Photo 2012 Exhibition Tour
Budapest, Hungary © Tamas Revesz
Aperture Remix Opening, Aperture Gallery.
New York
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London Exhibition
Foam Talent 2013 Exhibition at UnSeen Festival
© Stefan van Ruijven
4
Exposure Opportunites: Printed Publications
Having your photographs included in a printed publication of award-winning work has long
lasting benefits, and can help put you and your work in front of important people who
may not be able to attend an exhibition. A book or catalog is more permanent than an
exhibition and it also allows more people to see your work in context with the other winning
photographers. Printed publications are often used as reference tools and resources
for serious professionals. And they offer yet another opportunity for experts all around the
world to discover you and your work.
CA Photography Annual
Foam Talent Issue
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World Press Photo Yearbook
PDN Photo Annual
LensCulture Emerging Talent Annual
5
Exposure Opportunites: Online
The overall value of an award package should last beyond an initial cash award or press
release, and provide you with continued opportunities for growth. Online promotion can
exponentially increase awareness of your work in the photography community. Consider
the audience reach of the hosting-organization and how active their online forums, social
networks, and websites are. The power of the Internet has the potential to make content go
viral and sometimes can account for overnight success stories.
World Press Photo Winners Gallery
National Geographic Winners Gallery
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Sony World Awards Winners
LensCulture Competition Gallery for Entrants
© Konstancja Nowina Konopka
© Alena Zhandarova, LensCulture
Emerging Photographers Award 2013
6
Cash Awards
7
Theme
© Sean Lee
Cash Awards demonstrate that there is tangible value to the work you are doing, and the
money can often help fund continued work, new projects, or publication of a book. Awards
or grants can keep your practice alive and allow you to focus more attention on your photography. While it’s always wonderful to win money, many photographers find that other
components of an award are actually much more valuable than money — such as having
your work included in exhibitions or printed publications. Being broadly seen around the
world can be much more valuable to your career than a cash prize. In the best of all competitions, you will win cash and get extended visibility, recognition and fame.
Themed competitions can be helpful by offering you an opportunity that is particular to your
specialty. While not all competitions have themes, you might be asked to submit to a specific category or genre. Take the time to look into themes and categories that best represent
your work to maximize your shot at being selected for an award. It’s helpful if the theme is
clearly represented in your photos, but if it could be up for interpretation, use your artist
statement to help explain why this theme pertains to your work.
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© Ilona Szwarc
LensCulture Emerging Photographers 2013
© Maroesjka Lavigne
© Elin Hoyland
8
© Isabel M. Martinez
Eligibility
Read the rules and guidelines for eligibility carefully. Make sure you fit any requirements for
age, location, themes and levels. Pay attention to instructions about the number of images
you can submit, naming and numbering the photos, or adding captions and text. If you’ve
already won a big award for the same work, are you still eligible to win another competition?
Plus, make sure your work fits any size, quality, color, or skill level requirements particular to
the competition.
9 Entry Fees
Often times entry fees are necessary to offer award packages and keep helpful organizations running. Compare fees with other competitions and if they seem reasonable make sure
you understand all the costs involved. Sometimes winners will be required to pay additional
fees to cover costs of exhibitions, for example, so make sure to read all the rules.
10
Photographer Rights
You should always retain all copyrights to your own work. Competitions may want to use
your winning photographs to help publicize you and your work (which is great!), but make
sure it’s done fairly. You should always be credited for your work and it should never be used
without your permission.
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© Aoife Herrity
© Andrey Ivanov-Eftimiopulos & Sasha Shikhova, Insight
© Jessica Hines
© David Favrod
© Michelle Rogers Pritzl
11 Feedback from Previous Winners
Looking at previous winners and their experiences *after* their award announcement can be
a good indicator of whether the competition is worthwhile to enter. It’s always a good sign if
you’ve seen their work displayed in other places and if they are willing to tell the world how
much the competition helped them gain more recognition.
12 After the Competition
Sometimes competitions offer added benefits for participants beyond the deadline. Look
for awards that get publicity from other online and print organizations, which is a great way
to receive continued worldwide acknowledgment. You might also be eligible for extra perks
or membership opportunities just for applying, which is an added benefit even if you aren’t
selected as a winner.
Okay! You’ve done your homework and research, you’ve identified the best competitions
that can help you. So now it’s time to pick your best work and enter. Dive in!
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© Justin Gonyea
Tips and Advice from Industry Professionals
“When looking at photographs I listen foremost to my intuition, but this is subjective, of
course. I find that I am drawn to work that is layered—visually or conceptually—and capable
of communicating multiple stories depending on the life experience of the viewer. A series
of pictures needs to convey a multifaceted story, with irony, humor, or formal complexity.
Natasha Egan
I am also interested in pictures that educate the viewer about a topic. I’m drawn to sociopolitical landscapes or personal human dramas that can be viewed in a wider context beyond
the depicted subject, as well as art that pushes the boundaries of traditional photography.”
Executive Director,
Museum of Contemporary
Photography,
Columbia College,
Chicago, IL, USA
“I am drawn to work
that is layered—visually
or conceptually—and
capable of communicating multiple stories depending on the life experience of the viewer.”
– Natasha Egan
“I’m looking for a clear expression of an idea; I ask why is the photographer asking me to
look at this? When reviewing hundreds of submissions, exceptional, well-executed work that
animates an idea and is visually exciting really stands out and deserves to be recognized.”
Michael Famighetti
“I’m looking for a clear
expression of an idea;
I ask why is the
photographer asking
me to look at this?”
– Michael Famighetti
Editor, Aperture Magazine
New York City, USA
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“You need to grab the jurors’ attention from the start and hold it firmly through to the last
image. Editing is crucial. Each photograph has to be strong and the sequencing needs to
make sense, from a story-telling and an aesthetic point of view. Avoid repetitions.
Daphné Anglès
Picture Editor,
The New York Times
Paris, France
A good text with the pictures is short, concise, to the point, informed, descriptive. I find it
helps to imagine you are speaking to a smart child who would rather be outside playing with
friends: you have very little time to tell the story and explain WHY it matters. The same holds
true for captions. 1st sentence: describe the image. 2nd sentence: why and how this image
fits into the body of work.”
“When judging a photo prize, I am looking for something that I might not have seen before.
This can be a subtle nuance or a spectacular revelation. Mainly I want to see something that
is genuine and original.
I am interested in all genres and cross-fertilised projects, the key thing is for the work to be
fresh and true to the originator and the subject.
Louise Clements
Artistic Director, QUAD &
FORMAT International
Photography Festival
Derby, UK
The work also needs to provoke me in some way through ideas and/or composition as a
single image or as a series. I am very interested in how the works communicate and make
me think.”
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“You need to grab the
jurors’ attention from
the start and hold it
firmly through to the
last image. Editing is
crucial...” – Daphné Anglès
“I am looking for
something that I might
not have seen before...
a subtle nuance or
spectacular revelation.”
– Louise Clements
“I am always looking for surprising ‘new’ talent as well as great work from established
photographers.
Every great picture tells a story and should be able to stand on its own, but viewers
are often eager to know a little bit more about what the photo is about. So a simple
title or caption, or a few words, can make a great photo really come to life in
someone’s imagination.
Jim Casper
Editor & Publisher,
LensCulture
If you’ve created a series of images, think of them as a story. Choose a very strong
image to start off the series to make a powerful first impression.
Every image should contribute something fresh and new to the series and help add
character to the submission. A strong submission can be as few as 5 images, or as many
as 10 or 15 or more.”
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“Every image should
contribute something
fresh and new to the
series and help add
character to the
submission. A strong
submission can be as few
as 5 images, or as many
as 10 or 15 or more.”
– Jim Casper
“Entering contests can be a good way to promote yourself, but it does not necessarily make
for great photography. If you win, that’s wonderful. If not, don’t worry. Anyone who has ever
judged a photography contest can tell you that it is not a scientific process. It is subjective.
Different judges will give you different results.
James Estrin
Co-Editor,
New York Times Lens Blog
New York City, USA
That said, when I judge a contest I look for photographs that make me feel something.
Anything. I also look for stories that are original. I see thousands of stories a year and most
are sadly quite similar. So a story that I haven’t seen before, or a unique approach to a story
that I have seen before goes very, very far. Take chances!
“Anyone who has ever
judged a photography
contest can tell you that
it is not a scientific
process. It is subjective...”
– James Estrin
Captioning and text can be useful, but your images have to be understandable on their own
to have a good chance of getting past the first quick viewing. Most entries have too many
images. Only submit the very best work in tight edits. Less is more.”
“Does the image tell the story or illustrate the photographer’s vision clearly? The difference
between a good photograph and a great one can be subtle, but a great photograph
evokes an emotion/connection in the viewer. Photographers should avoid cliché images
when submitting to a photo contest — they should submit images that show their own
vision, what is true to them.”
Patricia Lanza
Director of Talent &
Content, The Annenberg
Space for Photography Los
Angeles, CA, USA
“The difference between a
good photograph and
a great one can be subtle,
but a great photograph
evokes an emotion/connection in the viewer.”
– Patricia Lanza
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“I look for images that move me, that are not derivative of other work that I have seen and
that show the photographer has their own ‘visual voice’ and point of view. I love photographers who can show me familiar things in new ways and whose sense of the art of the
photograph is as strong as the journalism and the message.
Sarah Leen
Director of Photography,
National Geographic
Washington, DC, USA
If the contest entry is a portfolio or is a group of images to create a visual narrative then
editing and sequencing are extremely important. A few mediocre images can bring down
an otherwise strong portfolio. A sequence that does not ‘read’ or tell the story in a logical
fashion does not communicate in the same way as a well-edited set. Photographers need to
resist the urge to add images that are not the best of their best. They should have friends or
colleagues whose opinions and taste they trust look at their work and see how they react.
What separates a good photo from a great photo is a feeling somewhere between what I
feel physically and what I would call an ‘aesthetic experience.’ It’s almost like the beginning
of a love affair, you are just drawn to the image, you are lifted off your feet, you are moved.
You just have to have it. You want to ask them to dance.
Always think hard about what category you’re entering. Always spend a lot of time editing.
Find a friend with great taste to give you honest feedback. Never make a copycat image,
especially not of an image that won last year.”
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“Photographers should
resist the urge to add
images that are not the
best of their best...”
– Sarah Leen
“Remember the world around your frame needs to be in your frame. A great picture actually
distills 360 degrees and condenses space and emotion into an experience that registers
long after you look away from the image.
James Wellford
Photo Editor, Curator,
and Educator
New York City, USA
Think when you photograph and don’t confuse speed with purpose. Finding and capturing
these moments means the photographer is always on a path to discovery and this process
forms an essential aesthetic and a unique voice. One picture is a piece of a whole and I am
forever curious about the many elements (photographs) that create an entire story.
Present your work with a range; find a rhythm that speaks not only to a detail in your image
but also to an emptiness, one that is full of considerations of consequence. Think metaphorically of the power of music: remember those beats of silence. Extraordinary photographs
know this silent note as well.
A picture is more than punctuation — it is a verb, active, evolving and always cogitating.
What informs a picture is often as important as the picture. When experience and process
are powerfully channeled in the photograph(s), the image becomes a portal revealing depth
and nuance about a moment that reverberates through time.”
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“...the image becomes a
portal revealing depth
and nuance about a moment that reverberates
through time...”
– James Wellford
If you have amassed a group of images that you feel proud of, I encourage you to put your
work in front of industry professionals to be considered for recognition amongst your peers.
Every competition will have one or more designated Jurors whose activities you should research. Should you wish to see your photographs being included in their gallery, exhibitions
or publications, herein begins the process of entering a photography competition.
Mary Virginia Swanson
Advisor to Artists and
Arts Organizations
Selecting the strongest group of images to submit for consideration is no small feat. This
requires that you seriously assess your overall body of work, a challenge that you may not
have attempted previously. My advice is to tightly edit your selections to demonstrate your
exploration of one project, theme, or process.
Since there are so many photography competitions, decide carefully which you will enter.
My advice is to invest only in those competitions that advance your career goals. Are the
Jurors individuals you have targeted as professionals you hoped to share your work with
one day? Will there be broad promotion of the selected photographs in print and online?
Will there be an exhibition of the selected works? Some competitions offer those who are
accepted inclusion in a printed exhibition catalogue, others offer purchase awards, while
others assign cash awards. Sharing your photographs with a broader audience will put your
work in front of new communities, and move you onward to new creative projects.
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“The process of entering a photography
competition offers a
tremendous learning
experience and begins
the path towards a
broader dialogue about
your work.”
– Mary Virginia Swanson
Alan Taylor
Editor, The Atlantic
In-Focus Photo Blog
Natick, MA, USA
“For me, it always starts with a gut feeling, something about the image that reaches out and
forces me to pay attention. Whether it’s the subject matter, or a powerful composition, or
a masterful use of light, or a new way of seeing something I thought myself familiar with —
something about the image really has to catch my eye. After that, I look for signs of craftsmanship, storytelling and intent. I am in awe of photographers who can manage to capture a
fleeting moment with skill and artistry. Based on the overall context of the competing entries,
does the image powerfully evoke a reaction in the viewer, does it engage and tell a story
well? In the end, it’s a subjective judgment and it also depends on the composition of the
competing entries.”
“The first thing I look for is some sort of surprise — something that catches my interest.
Captions become important only after I have narrowed down the images to a smaller
number, from which I will choose the finalists. Editing is essential and good sequencing
certainly helps with my selection. My mantra is less is more. Include only your best
pictures — anything else will weaken the submission.”
Elisabeth Biondi
“For me, it always starts
with a gut feeling, something about the image
that reaches out and
forces me to pay
attention...” – Alan Taylor
“My mantra is less is
more. Include only
your best pictures,
anything else will
weaken the submission.”
– Elisabeth Biondi
Visuals Editor,
Indepedent Curator,
New York City, USA
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“The difficulty with judging photography is that there is no ‘absolute’ in quality, as a pre-set
parameter, so we have to qualify work we see based on what we know that exists. From a
photographer’s perspective, this means that you simply need to guarantee that the ‘experts’
in the field, and the potential clients that you hope to work for, are aware of what you do –
that you exist and are worthy of being noticed.
Erik Vroons
Chief Editor,
GUP Magazine
Amsterdam,
The Netherlands
That being said, photography is first and foremost a visual medium. So, one must communicate primarily through pictures. However, additional info – background info per image in
case of photojournalism and documentary projects, an artist statement in the case of art or
personal work – is often essential to understand the ambitions of the photographer. Even if
the image comes first, accompanying words can still provide crucial information that simply
cannot come across in an image.
Remember, without editing, there is no articulation. Selection and ordering means creating
authority over your expression. It is what makes music out of noise, or meaning out of words.
Photographic editing is somewhere in between music and (linear) writing.”
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“Remember, without
editing, there is no
articulation. Selection
and ordering means
creating authority over
your expression.”
– Erik Vroons
“First of all, I look for clarity. Do not confuse me. When I judge I am probably first looking at
1 inch jpegs. Show me what you are doing in that first image. What is your story or your
thesis? Who are the protagonists? Put them in focus. I cannot emphasize how important
that first slide is.
If you are going to write something, make it short and make it real. Do not say ‘surreal’ or
‘existential’ or ‘Man’. Don’t do it. Keep me engaged. Don’t confuse me.
“First of all, I look for
clarity...Show me what
you are doing in that
first image.” – W.M. Hunt
William Hunt
Collector, Curator, and
Consultant
New York City, USA
photo © Ethan Hill
In the same vein, I prefer work that is formal, clean. Know your photo history. It can help.
Still, give me some mystery, ask something of me. Surprise, delight, engage, provoke,
stagger, insist, demand!
“When jurying, I look for the most unique visual dialogue, dynamic composition and, of
course, high quality images. A text should be honest, with clear facts. It should not be too
long and is best written by the photographer. Choice of images is always important, as is
the best edit.
Research who has won the prize in the past and research who is in the jury, if published.
Entering a competition is a way to introduce your work to important people in the field.”
Celina Lunsford
“I look for the most
unique visual dialogue,
dynamic composition
and, of course, high
quality images.”
– Celina Lunsford
Artistic Director and Chief
Curator, Fotografie Forum
Frankfurt, Germany
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“The difference between a good photograph and a great photograph is that the great image
is unconditional. All the elements of the picture come together at the same time, whereas
in a good picture only most of the elements are in synchronicity. Only when a photographer
has patience and/or the dedication to wait and persevere will he or she ever make great
images.
Jeff Moorfoot
Festival Director,
Ballarat Photo Biennal,
Australia
Captions can sometimes give clues as to how the viewer is meant to interpret an image, but
in most cases, if a picture doesn’t communicate its intent visually, then it is probably a fail
and the text won’t fix that.
If the prize is for a body of work or a sequence of images it is vitally important that consideration is given to the order in which the images are presented. It is exactly the same as the
order you would hang prints in an exhibition or lay them out in the pages of a book.
Pictures with a borrowed aesthetic, that is, pictures done that imitate the style of another
well known photographer, or those that imitate the winner of last year’s prize, push my
buttons in a negative sense. I respond best to images that take me somewhere I have
never been.
Any photographer who enters a competition with the sole expectation of winning a prize
is probably destined to a life of misery! If you want someone to always say something nice
about your pictures, show them to your mom! Work hard, persevere.”
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“I respond best to
images that take me
somewhere I have
never been.” – Jeff Moorfoot
“The first thing that I look for when judging a competition is whether the artwork being
submitted represents the theme of the competition.
Although it might be helpful to know the taste of individual jurors, I’m not sure it gives an
edge. I try to select work based on quality, not personal taste. Although I may like a certain
type of artwork it doesn’t necessarily mean that I will select it for an exhibition.
Jason Landry
Owner/Director,
Panopticon Gallery
Boston, MA, USA
In the image, I’m looking for creative images with a WOW factor. These images immediately
capture my attention. They are the types of pictures that remind me of photographer Harold
Feinstein’s famous quote, ‘When your mouth drops open, click the shutter.’ It is a visceral
experience, and each person will react differently to different images.
I always look at the photographs first, rather than the text. If I end up choosing more than
one photograph by the same artist, that is when I want to read the artist’s statement and
understand what his or her series is about. I find that titles and artist statements are distracting if you read them first and then the work doesn’t live up to the hype.
Understand that if you are not chosen, it doesn’t mean that your work is not good, it just
might not be the right fit for this particular competition.”
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“Understand that if you
are not chosen, it doesn’t
mean that your work is
not good, it just might
not be the right fit for
this particular competition.” – Jason Landry
“First comes the quality of the image. But text is important too, especially in documentary or
photojournalism. Weak editing and vague captions kill the power of a documentary narrative. A strong narrative emerges not just from the issues being shown but intelligent editing.
But the most important thing for me is to ‘hear’ the photographer’s own voice. The subject
and way of showing should be specific to the artist and their perspecitve.
Sujong Song
Curator and Committee
Member at the Daegu
Photo Biennale
South Korea
“The most important
thing for me is to ‘hear’
the photographer’s own
voice...” – Sujong Song
Also, always remember that many great photographers (and photographs) are not selected
as winners. Even though you might not find your name in the final list, it could still be in a jury
member’s diary, waiting to be spread around at a later date.”
“I need to be moved in a good or bad way at the very first glance. I do not wish to understand what I see — only feel it. I don’t want any text to explain to me what’s being shown,
it should speak for itself. I am not looking for ‘good taste’ in photography, I want to see an
honest attempt of the artist trying to reveal something of themselves.”
Susan Zadeh
Founder of EYEMAZING
Amsterdam,
The Netherlands
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“I am not looking for
‘good taste’ in photography, I want to see an
honest attempt of the
artist trying to reveal
something of themselves.” – Susan Zadeh
Notable Competitions to Consider
Here’s a short list of notable photography competitions to consider entering based on
feedback from photography experts and hundreds of photographers we surveyed. This
is not intended to be a comprehensive list, however it’s a great starting point. If there are
competitions you think should be on this list, please email us at [email protected].
Aperture Portfolio Prize
Aperture Foundation
Aperture, a not-for-profit foundation, connects the photo community and its audiences in print, in
person, and online. The purpose of the Aperture Portfolio Prize is to identify trends in contemporary
photography and highlight artists whose work deserves greater recognition. The Aperture Portfolio
Prize is a great competition that consistently recognizes very high-quality work. First prize: $3,000.
CENTER Choice Awards
CENTER
The Choice Awards recognize outstanding photographers working in all processes and subject matter.
The Awards are divided into three categories: Curator’s Choice, Editor’s Choice, and Gallerist’s Choice.
The winners receive recognition via exhibition, publication, portfolio reviews and more.
Communication Arts Photography Competition
Communication Arts
A prestigious competition for creativity in photography. Selected by a nationally representative jury,
the winning entries are distributed worldwide in the Communication Arts Photography Annual and
on commarts.com, assuring important exposure to the creators of this outstanding work.
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Critical Mass
PhotoLucida
The aim of Critical Mass is to provide participants with career-building opportunities and to promote emerging and mid-career artists. Critical Mass is about exposure, connection, and community.
Awards include a monograph publication, an artist residency, a solo exhibition, and an international
group exhibition. 200+ jurors.
Daylight Photo Awards
Daylight Books
Daylight is dedicated to publishing art and photography books that are distributed throughout the
world. By exploring the documentary mode along with the more conceptual concerns of fine art,
Daylight’s uniquely collectible publications work to revitalize the relationship between art, photography, and the world-at-large.
Dorothea Lange-Paul Taylor Prize
Duke University
$10,000 award from the Center for Documentary Studies at Duke University, supports documentary
artists, working alone or in teams, who are involved in extended, on-going fieldwork projects that
rely on and exploit the interplay of words and images.
FOAM Talent
Foam Magazine
Foam Magazine is one of the photography industry’s most respected magazines. Each year, they
host The Foam Talent Call, a prestigious contests for young (35 and under) photographers from all
over the world.
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LensCulture Emerging Talent Awards
Emerging Talent Awards is an international competition to showcase outstanding emerging photographers — from all cultures, all points of view, with no age limit. It’s hard to gain attention as a
relatively new photographer, and this competition is focused on getting work seen through
immediate exposure opportunities online, as well as through career-building photo exhibitions.
LensCulture Exposure Awards
The upcoming 6th edition of Exposure Awards is an annual competition open to photographers
with a goal to offer meaningful and lasting opportunities for exposure. Winning work is seen by international photo editors, creative directors, curators, publishers and art collectors. More than
30 photographers are selected for awards.
LensCulture Portrait Awards
On a mission to discover a full range of 21st century portraits, the Portrait Awards is a photography
competition open to all ideas of portraiture from anywhere in the world. With an international jury,
a range of high-profile awards are available for top 50 Talents.
LensCulture Visual Storytelling Awards
LensCulture Visual Storytelling Awards is an international competition to showcase excellent photo
narratives from photographers in all cultures, all points of view, all subject matter. 5 categories:
Documentary, Photojournalism, Fictional Narratives, Personal Stories, and an Open Category. Awards
and global exposure are given to 5 Grand Prize Winners (one for each category) plus 20 Finalists.
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FPO
National Geographic Photo Contest
National Geographic
Known globally, National Geographic is a standard for the photographic world. The competition is
judged on creativity and photographic quality by a rotating panel of experts. Harness the power of
photography and share your stunning travel experiences from around the globe with us. The
Categories for entries are Travel Portraits, Outdoor Scenes, Sense of Place and Spontaneous Moments.
Nature Conservancy Photo Contest
The Nature Conservancy
A yearly, international nature photography competition hosted by the international nature
photography society, The Nature Conservancy.
ONTHEMOVE International Award
Cortona On The Move
The festival Cortona On The Move sponsors a photography competition with an annually changing
theme. This year’s edition is “Happiness ONTHEMOVE.” The award will go to a photography project related to travel and will consist of a €4,000 prize as well as an exhibition at the festival in 2015.
PDN Photo Annual
PhotoDistrict News
Hosted by PDN, Photo Annual is one of the largest competitions in photography offering top
exposure to some of the biggest names in the business. They give out several awards in several
categories, changing from year to year.
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Pictures of the Year International
Donald W. Reynolds Journalism Institute at the Missouri School of Journalism.
A photographic contest designed to pay tribute to press photographers and newspapers and
to compile and preserve a collection of the best in press pictures each year. Prizes given in
categories from sports to natural disasters to everything in between.
Print Center Annual International Competition
The Print Center
The Print Center’s Annual International Competition is one of the oldest competitions in the United
States. The Print Center is interested in highlighting artists from around the world who utilize photography and printmaking in intriguing ways and whose work pushes the boundaries of traditional
photographic and printmaking practices. The top prizes include museum exhibitions and grants.
Prix de la Photographie
Prix de la Photographie
The Prix de la Photographie, Paris (Px3) is one of Europe’s most prestigious photography competitions. Since 2006, Px3 has promoted an acute appreciation of photography, discovered hundreds
of emerging talents as well as awarded professional photographers. Px3 each year introduces photographers from around the globe to the artistic community of Paris. Prizes are €3,000 and €1,500,
an exhibition in Paris, and publication in our Annual Book of Photography.
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Prix Elysée
Musée de l’Elysée, Parmigiani Fleurier
The Prix Elysée is open to promising photographers, regardless of nationality, who have already
enjoyed their first exhibitions and publications. Photographers must be recommended by a reputed
professional in the fields of photography, contemporary art, cinema, fashion, journalism or publishing. There is no imposed theme or preference for any particular photographic genre or technique.
The prizes include 40,000 Swiss Francs to complete an unfinished photographic project and
40,000 more to produce a book of the work.
Renaissance Photography Prize
Renaissance Photography Prize
The Renaissance Photography Prize is an international competition that showcases outstanding
photography from emerging or established photographers. All the profit raised from entries is donated to support younger women with breast cancer. Entering gives photographers the chance to
have their work judged by some of the most influential photography critics in the industry.
Smithsonian Photo Contest
Smithsonian Magazine
Annual competition dedicated to a broad cross-section of science, history, art, popular culture and
innovation. Their winning images demonstrate “technical quality, clarity and composition, but also a
flair for the unexpected and the ability to capture a picture-perfect moment.” Grand prize of $2,500.
2014’s categories are Natural World, Travel, People, The American Experience, Altered Images and
Mobile Photos.
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Sony World Photography Awards
World Photography Organisation
Professional, amateur, youth and student photographers from across the world can enter their best
work for free. Seeking the very best in international contemporary photography, the awards have
established themselves as one of the world’s leading photography competitions. Photographers
compete for a range of cash prizes and the latest cutting edge digital imaging equipment from Sony.
Overall winners will be announced at a gala ceremony held in London.
FPO
The Fence
Photoville
Each year, THE FENCE - Brooklyn’s premiere summer-long, outdoor photographic exhibition - invites photographers from around the world to explore and define the meaning of community
across cultural boundaries and geographical lines. Presented in 3 cities (Brooklyn, Boston, Atlanta),
THE FENCE reaches an audience of 1.5 million visitors each summer.
Vienna International Photo Awards
Vienna International Photo Awards
The Vienna International Photo Awards (VIPA) mission is to draw more attention to documentary
photography in Austria and worldwide. VIPA has become one of the leading documentary photography contests, focusing on the niche between press and art photography. The uniqueness
of documentary photography lies in its rendering of a wide variety of themes and the plurality of
perceptions in a way not found in press photography or art photography. Prizes include money, a
juried exhibition, and inclusion in a printed catalogue.
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Wildlife Photographer of the Year
Natural History Museum/BBC Worldwide
Now in its 50th year, the Wildlife Photographer of the Year competition provides a global
showcase of the very best nature photography. The competition is co-owned by two esteemed
UK institutions – the Natural History Museum and BBC Worldwide. The winners are exhibited all
over the world and printed in an annual catalogue.
World Press Photo
World Press Photo
The World Press Photo contest is the world’s leading competition for professional press photographers, setting the standard for the profession. The photo of the year wins 10,000 euros and a
professional Canon camera. The winning pictures are presented in an exhibition that travels
around the world.
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LensCulture Success Stories
“My biggest and best story so far has been my recent first assignment for
The New York Times. They asked me to shoot a great story on the writer
Benoit Denizet- Lewis and his new book ‘Travels with Casey: My journey
through our dog-crazy Country.” I was very excited to shoot it.”
Tina Schula
Brooklyn, NY
Radical Camp
Finalist, LensCulture Exposure Awards 2013
Tsutomu Yamagata
“After the announcement, my work was featured on Huffington Post Italia,
Artist Database Japan, Rinse, and more. I can’t count how many times I was
reblogged and shared on Facebook, Twitter, Tumblr. The sales of my photography book increased in the USA. It hit the weekly best-seller list on photo-eye
books. This autumn, my work will be featured in the international photo festival
“La Quatrieme Image” in Paris. My work will be known all over the world—all
thanks to LensCulture.”
Brooklyn, NY
Thirteen Orphans
3rd Prize, Portfolio Category, LensCulture Portrait Awards 2014
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“I received a lot of attention after being published in LensCulture! Mainly, it
was the first time that my work received some response from the US. First,
my work was published in a couple of US magazines and then, I was offered
an exhibition in New York City at the Robert Mann Gallery in Chelsea! The
gallery also represented my work at the AIPAD Fair, which was great.
Maroesjka Lavigne
Brooklyn, NY
Yijun Liao
Brooklyn, NY
The LensCulture opportunity was key in allowing me to finance my new
project about Beauty Culture in Seoul. And it motivates me to keep working
as a photographer!”
“I have to tell you that my email has been busy non-stop ever since the announcement of the LensCulture Exposure Awards. LensCulture has indeed given me great exposure worldwide. I have had really good luck in the press lately
worldwide, and it’s still snowballing! It took my name to an international level.
Look at where my work has been featured since I won: Huffington Post (US),
iGnant (Germany), BUST (US), Daily Life (Australia), Medium, TAXI, Escapism (Canada), Il Post (Italy). Also, I have been invited to a residency in Finland, contacted by a UK collector, a Chilean Museum and a European publisher
for possible projects. It’s truly been the best award I’ve won!”
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Island
Grand Prize Winner,
LensCulture New & Emerging Photographers 2013
Experimental Relationship
2nd Prize Portfolio Winner, LensCulture Exposure Awards 2013
Dayna Bartoli
“My biggest success that was a direct result of submitting my photos to
LensCulture was getting photos published in Harper’s Magazine! A photo of
mine was featured in a post from LensCulture before the contest results
were even announced, and it was seen by someone at Harper’s. They contacted
me and asked if they could publish 3 of my photos, and they were published
in the July 2013 issue! It felt amazing to see that my photos were on every
news stand in the US, and it would not have happened without LensCulture.
Brooklyn, NY
Florafaunal Angiography
Finalist, LensCulture New & Emerging Photographers 2013
Richard Tuschman
“I have seen a huge increase in interest in my work since the award was announced. I have begun working with a private dealer who has purchased several
prints and also received serious interest from a dealer in Moscow. I have been
approached by a commercial agency in Spain, my work will be the subject of articles in several print magazines across the globe and there have been numerous
features on photo sites and blogs. I also got about 1,000 new Facebook fans and
traffic to my website has increased by almost 500%!”
New York, NY
Hopper Meditations
3rd Prize Portfolio Winner, LensCulture Exposure Awards 2013
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Michael Marten
UK
“Winning 1st prize in the portfolio category of the LensCulture Exposure
Awards, as well as attending the portfolio reviews in Paris that November, were
a breakthrough for me. It led directly to the 2012 publication of my book Sea
Change by Kehrer and a solo exhibition of the work at London’s Oxo Gallery.
There were reviews of the book in The Observer newspaper as well as Source
magazine and features in magazines and blogs ranging from The Guardian
weekend magazine to Reddit. This led to a huge spike in visitors to my website.
My Sea Change book is almost sold out.”
Sea Change
1st Prize Portfolio Winner, LensCulture Exposure Awards 2011
A popular monthly magazine really liked my project about Native American
pride in LensCulture, and they have decided to commission me to go back and
shoot more. So exciting, I still can’t believe it! ALSO I have seven images from
the Mod Couples series in The Eyes Collection #1 exhibition (thanks to LensCulture, obviously!).
Carlotta Cardana
London, UK
Mod Couples
Finalist, LensCulture Exposure Awards 2013
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lensculture
© David Favrod
Switzerland
LensCulture Exposure
Awards 2013
© Agnieszka Rayss
Poland
Awards 2013
© Brian Shumway
United States
LensCulture Portrait
Awards 2014
© Marc Thirouin
France
Awards 2014
© Matilde Gattoni
Italy
Awards 2012
© K.K. DePaul
United States
Awards 2014
© Richard Tuschman
United States
Awards 2013
© Johan Ensing
Netherlands
Awards 2009
© Stella Johnson
United States
Awards 2009
© Adam Panczuk
Poland
Awards 2009
© Julia Gunther
Netherlands
LensCulture
Exposure Awards
2013
© Coco Martin
Peru
Awards 2014
© Hossein Fatemi
Iran
Awards 2014
© Yijun Liao
United States
Awards 2013
Above: Photos from the front cover.
A special thanks to all the contributors for their valuable time and advice.
To find out more about the current LensCulture competition, go to www.lensculture.com/awards
LensCulture Guide © 2014 LensCulture, Inc.
lensculture | How to Get the Most Out of Photography Competitions

How to Get the Most Out of Photography Competitions

Transcription

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